Amazon.com

Based on an obscure crime novel titled Tucker's People, Abraham Polonsky's Force of Evil has attained classic status since its release in 1948, when film noir was thriving on the fringes of the Hollywood studio system, where the shadowy attributes of noir were allowed their fullest expression. Which is to say, this gritty drama is drenched in greed, cynicism, and corruption of the soul, as embodied by John Garfield in one of his most memorable roles. He's perfectly cast as Joe Morse, a lawyer whose connection to a ruthless racketeer has nearly destroyed his sense of morality. His participation in a rigged numbers racket could prove disastrous for his high-strung older brother (superbly played by Thomas Gomez), whose small-time policy bank stands to go broke when the rigged numbers pay off--a financial windfall for Joe's powerful boss at everyone else's expense.

Joe's corruption is tempered only by remnants of guilt and his redeeming attraction to Edna (Marie Windsor), his brother's secretary, whose common decency gnaws at Joe's rotten conscience. But before Joe can rise from his self-made hell, Force of Evil takes him to the darkest pit of tragic humanity--a downward spiral perfectly expressed through George Barnes's exquisitely stark cinematography. In style and substance, this is quintessential noir, its plot unfolding with uncompromising toughness and intelligence. More's the pity, then, that director Polonsky was later victimized by the Hollywood blacklist, curtailing a promising career for two decades until Polonsky directed Robert Redford in 1969's Tell Them Willie Boy Is Here. It seems only fitting, then, that Polonsky's remarkable debut is now recognized as one of the finest dramas of its kind. --Jeff Shannon ... Read more

Reviews (10)

An Inside Look At Big City Corruption
Abraham Polonsky's 1948 film Force Of Evil is drenched with cynicism, corruption, greed, and love. Capturing the lure of noir, Force of Evil is a violent ballet which depicts the struggle of two brothers vieing for a rung on the urban ladder of existence. Joe Morse ( John Garfield) is a Wall Street lawyer with connections to an underworld kingpin. Morse is not content with being a straitlaced lawyer. Longing for a big score he becomes embroiled in a plan to drive the neighborhood number rackets out of business. Morse's greed is compromised by his protective instincts for his older brother Leo ( Thomas Gomez)who happens to operate one of the small policy games. Morse's morals and emotions are further stirred by Doris ( Beatrice Pearson), Leo's secretary who innocently is scarred by the veil of crime. A dichotomy emerges as each brother's values about life come to the surface. Gomez is outstanding and upstages Garfield in a memorable performance. Although Leo runs a small numbers operation, he is a proud and honest man that remains loyal to his workers. He has provided poor neighborhood people with extra income and justifies the numbers racket as a simple five and dime game that might bring a windfall to a blue collar laborer. Conversely, Joe has it all- Wall Street law office, secretaries, and expensive suits. Yet Joe's success is partly due to his representation of his most influential client, mob boss Frank Tucker ( Beau Bridges). Joe cannot break his ties with the mob and instead becomes more involved with them. Polonsky's location shooting in Manhattan adds the concrete texture and intimidation that shadows the film. In one scene, John Garfield's lone figure walking along desolate Wall Street, with Trinity Church looming in the background creates a sense of urban alienation. Polonsky's camera work when Mr. Bower is shot is riveting. No film up to that time had captured the brutality and urgency of mob gunmen at a hit scene as did Polonsky. That scene alone bridges some of the influences that Martin Scorsese speaks about in the film's prelude. Characters, scenes, and emotions from Mean Streets, Raging Bull, and Goodfellas are distinctly culled from Force of Evil. Also Jeff Shannon's review incorrectly states that Leo Morse's secretary is played by Marie Windsor. The beautiful, buxom fixture of many noir films, Windsor played the role of Edna Tucker, the mob boss's wife. Upon release, Force of Evil was relegated to B status, but recently and rightfully so, it has been reevaluated as one of the most influential crime noirs in American cinema.

A Look At Big City Corruption
Abrabham Polonsky's 1948 film Force of Evil is drenched with cynicism, corruption, greed, and love. Capturing the lure of noir, Force of Evil is a violent ballet which depicts the struggle of two brothers vieing for a rung on the urban ladder of existence. Joe Morse ( John Garfield) is a Wall Street lawyer with connections to an underworld kingpin. Morse is not content with being a straitlaced lawyer. Longing for a big score he becomes embroiled in a plan to drive the neighborhood number rackets out of business. Morse's greed is compromised by his protective instincts for his older brother Leo ( Thomas Gomez) who happens to operate one of the small policy games. Morse's morals and emotions are further stirred by Doris ( Beatrice Pearson) , Leo's secretary who innocently is scarred by the veil of crime. A dichotomy emerges as each brother's values about life come to the surface. Gomez is outstanding and upstages Garfield in a memorable performance. Although Leo runs a small numbers operation, he is a proud and honest man that remains loyal to his workers. He has provided poor neighborhood people with jobs and extra income and justifies the numbers racket as a simple five and dime game that might bring a windfall to a blue collar laborer. Conversely, Joe has it all- Wall Street law office, secretaries, and expensive suits. Yet Joe's success is partly due to his representation of his most influential client-mob boss Frank Tucker (Beau Bridges). Joe cannot break his ties with the mob and instead becomes more involved with them. Polonsky's location shooting in Manhattan adds the concrete testure and intimidation that shadows the film. In one scene, John Garfield's lone figure walking along a desolate Wall Street, with Trinity Church looming in the background creates a sense of urban alienation. Polonsky's camera work when Mr. Bower is shot is riveting. No film up to that time captured the brutality and urgency of mob gunmen at a hit scene as did Polonsky. That scene alone bridges some of the influences that Martin Scorsese speaks about in the film's prelude. Characters, scenes, and emotions from Mean Streets, Raging Bull, and Goodfellas are evident in Force Of Evil. Also Jeff Shannon's review incorrectly states that Leo Morse's secretary is played by Marie Windsor. The beautiful, buxom fixture of many noir films, Windsor played the role of Edna Tucker,the mob boss's wife. Upon release, Force of Evil was deemed a B crime flick. Recently, and rightfully so, Force of Evil has been re-evaluated as one of the most influential crime noirs in Amercian cinema.

One of Garfield's best films is thankfully on dvd!
This was one of John Garfield's final films before he was wrongfully "blacklisted" & it's easy to see why it was a "major influence" on director Martin Scorsese's crime dramas. Garfield plays a wise young Wall Street lawyer who works for a mob boss in order to make money "the easy way". However, when Garfield forces his older (& weaker) brother to join the crooked organization, problems quickly arise, & there's plenty of backstabbing & double-crossing involved! I'll admit the movie starts off a little slow, but Garfield's incredible acting had me hooked in no time. The photography in this gripping film noir is simply amazing, & although Garfield's the only "big star" the cast is very good. Unfortunately, the dvd has absolutely no special features, not even a trailer or cast bios. Oh well, this classic is so awesome that I'm satisfied with the dvd release. Maybe someday a special edition will be released. If you're a John Garfield or film noir fan than this is a definite must!

Classic Garfield Noir
Force of Evil is a fine example of 1940s film noir. Polonsky's direction is crisp and the pacing perfect throughout. John Garfield turns in an above average performance as Joe Morse, a lawyer turned enabler for mob boss Ben Tucker, who is played by a not entirely convincing Roy Roberts.

Force's plot turns around the effort of Tucker and Joe Morse to monopolize "policy" (i.e., the numbers racket) in New York, and Morse's effort to keep his brother, who runs a small-time numbers bank, from being crushed in the process. It is the brother-to-brother aspect of the plot that provides the real juice for this noir, with Thomas Gomez turning in a riveting performance as Joe's brother, Leo Morse. The female lead, Doris Lowry, is played well by Beatrice Pearson, but, in the end, the character stands to serve only as a sounding board for Joe as he struggles with what he has done to himself, and to his brother.

Technically, it looks as though Artisan, a perennial purveyor of poor quality dvds, has finally gotten a release right. The transfer here is crisp with solid blacks and a serviceable grayscale. The only obvious flaw on the disc can be found in the chapter selections, where the stills for the last two scenes are reversed. The audio is quite acceptable, and the score for this work is incrementally more memorable than most. As for features on this dvd, there are none -- it's the film, and just the film. However, because Artisan must learn to walk before it runs, the absence of special features is forgivable in light of the effort Artisan has finally put into getting the film right.

All things considered, I recommend this dvd to those wondering what film noir is all about, and strongly recommend it to confirmed fans of the genre. If you know what noir is about, and are not a fan, this dvd is decidedly not for you.

fine noirish effort
Not quite on a par with the best film noirs such as Touch of Evil, Double Indemnity, and Sunset Blvd., FORCE OF EVIL is still a fine film starring John Garfield. Garfield is an attorney, caught up in a drama with an older brother, the numbers racket, and a life spiraling out of control. Excellently made, it only lacks in topnotch performances.

Truly this is not a film noir, because our protagonist is corrupt from the beginning. Still, it often gets classified as a noir; it has much in common with the famous film noirs, and I would recommend it to any fan of the noir genre, as well as fans of 1940s cinema.

I loved it. 90 minutes well spent, and I'm recommending it to all my friends.

five stars ... Read more

Amazon.com

The dazzling Rodgers and Hammerstein musical, brought to lush life by the director of the original stage version, Joshua Logan. Set on a remote island during the Second World War, South Pacific tracks two parallel romances: one between a Navy nurse (Mitzi Gaynor) "as corny as Kansas in August" and a wealthy French plantation owner (Rossano Brazzi), the other between a young American officer (John Kerr) and a native girl (France Nuyen). The theme of interracial love was still daring in 1958, and so was director Logan's decision to overlay emotional moments with tinted filters--a technique that misfires as often as it hits. The comic relief tends to fall flat, and an overly spunky Mitzi Gaynor is a poor substitute for the stage original's Mary Martin. But the location scenery on the Hawaiian island of Kauai is gorgeous, and the songs are among the finest in the American musical catalog: "Some Enchanted Evening," "Younger than Springtime," "I'm Gonna Wash That Man Right Outta My Hair," "This Nearly Was Mine." That's Juanita Hall as the sly native trader Bloody Mary, singing the haunting tune that launched a thousand tiki bars, "Bali H'ai." Based on stories from James Michener's book Tales from the South Pacific. --Robert Horton ... Read more

Reviews (52)

Superb Restoration from original TODD-AO Negative
Hallelujah! Finally, Fox has retired the CinemaScope print versions previously used in its two video incarnations and gone back to the TODD-AO 65 mm negative to bring us the definitive edition of SOUTH PACIFIC. The THX digitally restored film (available in both pan and scan and widescreen) is impeccably beautiful. The colors are all true and rich and deep. No more grain or bleed as we had in the Scope versions, especially in the controversial color filter sequences, which now render powerful and true as they were intended (and which netted cinematographer Leon Shamroy an Oscar nom). The widescreen version is the one to get, however - the sweep and beauty of the scenery and composition of the players meld into a perfect whole. I've seen this dozens of times but was mesmerized with this print as if seeing it for the first time. Most of the controversy over the film's casting and acting and direction stem from the small screen pan and scan - you NEED the widescreen lush backgrounds to understand the story, why the natives are attracted to it and why it holds the naive Americans in its seductive sway. RUN to get a print of this while they last - a great musical (remember it ran in its TODD-AO versions for over a year in the major city roadshow releases - audiences of the day LOVED it, despite the critics' lukewarm responses). This is a true WINNER! For the record this also contains the original Overture (Some Enchanted Evening, A Wonderful Guy, Nothin Like A Dame, Younger Than Springtime); the Entr'acte (Younger Than Springtime, Gonna Wash That Man, Bloody Mary, Bali H'ai); and Exit Music (Younger Than Springtime, A Wonderful Guy, Some Enchanted Evening, Bali Ha'i) all set against travelogue vista outtakes and title card backgrounds.

More than a love story. And the music is great!
With the world a little shaky now, it's a real pleasure to be able to put on a DVD and take a trip down memory lane to 1958 when South Pacific was released in movie theaters. The Rogers and Hammerstein score sets the tone for this musical adaptation of the Broadway show that was based on Tales of the South Pacific" by James Mitchener.

The story is set on an island in the South Pacific during WW2. The Japanese are entrenched in a nearby island and are bombing American forces that go near, but life is sweet for the G.I.s at the naval base. Mitzi Gaynor, cast as a nurse, is beginning a romance with an older distinguished French planter played by Rossano Brazzi. John Kerr is a young lieutenant who comes to the island to convince the planter to risk his life to spy for the Americans. And Juanita hall is the older native woman who pushes her daughter, the lovely France Nuyen, at John Kerr. The music is excellent and the words of the songs really do move the story along.

The theme however, is more than a love story. It deals with racism and the tragedy of war too. And these themes are what held it all together for me. It's a great human statement surrounded by wonderful familiar melodies that I'm still humming this morning. I loved it. And I didn't even care that, with the exception of Rossano Brazzi and Ray Walston, whose role as a sailor who always has a scheme and adds some really funny comic relief to this tale of love and war, the acting in general was mediocre. Everyone else gave rather stilted performances, and Mitzi Gaynor might be pretty, but she can't quite show a wide range of emotion. Also, the songs were all dubbed and obviously so. But that was the way Hollywood did things in those days. It's also interesting to note what the standard for beauty was in 1958. With the exception of the dancers, it was youth alone and not workouts in the gym that shaped the actors' bodies. Narrow waists were in style for the women, but hips were allowed to flare naturally.

I loved South Pacific in spite of its few faults. It was great entertainment even though it didn't make me forget the prospect of war. If you've never seen this film, don't miss it. And if you've seen it before, it's certainly worth a revisit. Highly recommended.

Another Let Down
The first time I watched this I was hitting the sauce pretty hard with the result that I thought it was one of the greatest movies ever made. In the next few days I tried to re-watch it and there were some things I wasn't going for. (The interesting thing is I was drinking just as much, if not more.) Actually, there were a lot of things I wasn't going for, but I'll only mention a few of them: (1) There's some saying that the French plantation owner keeps spouting to the nurse as if it were their "little phrase" - something like "Fools never argue, wise men never agree", that's not it, but it was something that sounds profound but is actually a piece of garbage. Even if it were profound, I don't need to hear it. (2) This movie starts out making some pretense to being a realistic war movie, but the combat scenes toward the end are asinine in the extreme. (3) The nurse and the marine are both supposed to be racists who need to be straightened out, with the implication that YOU are if you're white. I'm sorry but I watch musicals to be entertained, not to get a course of "sensitivity training." -- If I ever watch this again, I'm going to cut it down to watching 2 or 3 of Mitzi Gaynor's numbers.

It's simply the best...
What a classic, wow! Don't believe one negative word you hear about this film. Everyone knows that the songs are the best Rogers & Hammerstein produced for one show. The singing in the film and the renditions are fabulous. The first time I saw this film I was 10 years old and, yes, it was in 1958 in an old, classic of a movie theater where the ushers were wearing suits. I was totally entranced by this great film at that time and still am today. Mitzi Gaynor and Rossano Brazzi were excellent selections-- I don't think Mary Martin would have been any better. John Kerr looked exactly like a young Marine lieutenant circa 1942. Sure, ladies, it could have been someone who was known for having knockout looks, but they would not have been as effective. And France Nuyen captures the essence of a native girl like no one else and that was good casting opposite Kerr.

To me, the greatest achievement of this film is that Joshua Logan absolutely captured everything about the early 1940s in that cast of characters. Mitzi Gaynor has a 1940s face and style, and looked exactly like a Navy nurse. The same is true for the other characters but especially so for Kerr. If you look at war footage from the Pacific theater, you'll see hundreds of Marines with frames exactly like Kerr's. No one lifted weights back then so no one had the "body cuts" of a weight lifter. He looked just like a Marine Lt from WWII should have looked-- tall, very lean, serious but a kid at the same time. He was intense in the combat scene and very light during the scenes with Nuyen. And Juanita Hall couldn't have been better; she will always be everyone's vision of Bloody Mary.

Logan manages to take you back to that time over and over again even though it was filmed 15 years later. When I watch it today I know that the smells were different, the mindset was different, the clothes were different, the cultures were different, the people were different, and life was different; perhaps simpler. Logan capture all of that for us to see over and over again. Plus, he did it in a way that makes the racial point but does it without being vulgar.

South Pacific captures the World War II era in the same way that Gone with the Wind captures the Civil War era. We can never go back to those times, but Logan helps make time stand still. Best of all was his casting. This version of South Pacific is one of my all time favorite films and no classic film library should be without it. Buy it. Watch it. Love it!

Great, but maybe not good
After viewing the full screen version of "South Pacific" on a projector screen as well as my own home, I feel that the movie was filmed beautifully!!! The use of color tints carries the audience away. Mizti Gaynor has a fabulous singing voice, even if she is "as corny as Kansas in August." The characters overcome the racial prejudices, showing the world that mixed couples are acceptable. The only thing that I found lacking was the plot line. If it weren't for the musical interludes, the movie may have been a flop. ... Read more

Reviews (7)

It's No Mystery That This Is a Great Movie!
Charlie Chan in Rio is one of the best films I have ever seen. The plot is surprislingly strong and keeps you guesssing all through the film. The way Chan solves the mysteries is mesmorising. This was my first Charlie Chan film, so it naturally holds a special place in my heart. However, this is clearly one of the best. This film is brilliant.

One of the best Charlie Chan films
These old Charlie Chan mysteries are light and fun in tone, but not to the point of being campy. This one was always a favorite of mine because of the strong story, interesting setting (I always wanted to go to Rio), and because of the Asian detective's especially clever methods of cathing the villian this time around. I also enjoyed the song the woman sings on stage, which is saying a lot because I usually can't stand those kind of scenes in old movies. Along with the one in the wax museum and the one in Paris, I'd say this is the best Charlie Chan film I've seen. "Charlie Chan in Rio" is clever and engrossing for what it is.

Brazilian Atmosphere and Cabaret Scenes
CHARLIE CHAN IN RIO is one of two Chan films turned out by 20th Century-Fox in 1941. Sidney Toler plays Charlie who is chasing a killer in Rio. Sen Yung is again cast in the role of Jimmy Chan and Victor Jury also appears in the movie. I liked it - particularly the Brazilian atmosphere and the cabaret scenes.

Mild Installment In The Charlie Chan Series
Charlie Chan (Sidney Toler) and son Jimmy (Victor Sen Yung) travel to Rio to arrest a woman accused of a murder in Hawaii--but before the killer is taken into custody she becomes the victim of foul play herself. Chan films frequently ask the viewer to suspend disbelief re various plot devices, but this particular episode requires one to accept a particularly unrealistic plot device and as such seems more than a little silly; fans will find it mildly enjoyable, but RIO is not the film I would use to introduce a newcomer to the series.

Although the Charlie Chan films are sometimes accused of perpetuating racial stereotypes, they were in fact no more stereotypical than other serial-style films (Blondie and Dr. Kildare come to mind) of the era--and as the series progressed the patronization found in the earliest films was rapidly discarded. Regretfully, many of the best Chan films are not available on video, much less DVD, and fans of the series who want to see such classics as CHARLIE CHAN AT TREASURE ISLAND or CHARLIE CHAN AT RENO(my own favorites) must hope for a showing on television.

Worse than expected
This dreadful film--amateurish to the point of laughter--is an example of the inferiority of Twentieth Century Fox Chan films. For real style and laughs, watch the cheapie Monogram Chan movies with Mantan Moorland and Willie Best. The fact that these films are politically incorrect, adds to their appeal. ... Read more

Reviews (199)

The Best Historical Film of the Year (2001)
THIRTEEN DAYS is simply outstanding! One of the best historical films I have ever seen! It is even more "History" then "Hollywood".

I think the Cuban Missile Crisis is one of the most important events in American History. However, many younger Americans know so very little about the very important events depicted in this carefully planned and conscientiously researched film.

Steven Culp's portrayal of Robert F. Kennedy was simply uncanny. It has got to be difficult to act as a person so many people know so well. I thought his performance was fabulous. Kevin Costner played the role of presidential aide Kenneth O'Donnell. His performance was very good however; his Boston accent was terrible and really does get on your nerves, especially in the beginning of the film. Bruce Greenwood plays John F. Kennedy and does this great president justice.

I highly recommend the infini film DVD version of this movie. The Beyond the Movie features are wonderful. The Historical Figures Commentary features archival audio of John F. Kennedy, Robery McNamara, P. O'Donnell, Pierre Salinger, Sergie Khrushchev, and many others. There is a 48 minute documentary entitled "Roots of the Cuban Missile Crisis" which features film footage from the era along with modern interviews covering post World War II United States and Soviet relations. There are also historical biographies of all the major figures in the movie too.

If you enjoy historical movies this one is a must see!

On The Brink
In October 1962, the world came closer to nuclear extinction than it ever had before or would again. When a U-2 spy plane photographed the installation of Soviet ballistic missiles on the island of Cuba, the United States and its president John F. Kennedy were faced with a monumental dilemma: how to force the Soviets to withdraw the missiles without touching off World War III. That is the story ingeniously told in the terribly underrated political drama THIRTEEN DAYS, one of the best films of that type since ALL THE PRESIDENT'S MEN.

Seen through the eyes of JFK presidential adviser Kenneth O'Donnell (Kevin Costner), THIRTEEN DAYS is a fascinating look at the machinations that went on in the highest circles of power in Washington during that traumatic time known as the Cuban Missile Crisis. Bruce Greenwood, known prior to this for playing bad guys (DOUBLE JEOPARDY; RULES OF ENGAGEMENT), gives an extremely credible portrayal of John Kennedy, who finds himself caught between a rock and a hard place. On one side are the Joint Chiefs of Staff, led by staunch Cold Warriors General Max Taylor and Dean Acheson, pushing for an invasion and surgical strike against the missiles. On the other is the president's own conscience, for he knows that anything as rash as what the Joint Chiefs are leaning hard on could mean the end of life on Earth.

Alongside Greenwood's sterling performance, Steven Culp portrays his brother Bobby Kennedy with the right tact and straight-forward believability. Costner's heavy Boston accent is not always credible, but this is only a minor flaw in his performance as Ken O'Donnell, which is otherwise quite good. A true standout performance is Michael Fairman's portrayal of UN ambassador Adlai Stevenson, a former presidential candidate and an old "political cat" who denounces the Soviet Union's stonewalling at the United Nations in front of the world--"Yes or No?! Don't bother to wait for the translation"; "I'm prepared to stay here until Hell freezes over, if that's what it takes!"

David Self's screenplay is very cagily based on White House tapes, documents, and memos from that two-week edge-of-the-seat rollercoaster ride the human race had to endure. It all comes together under the crisp, taut direction of Roger Donaldson, who directed Costner in 1987's NO WAY OUT. Even though it is a rather long film at 146 minutes, it plays like Great American theatre, the kind that Hollywood has somehow left behind in its rush for big bucks.

Like any film drama based on real events, besides the slight fictionalizations, a person's knowledge of these events might make THIRTEEN DAYS predictable. But the reason these kinds of films work is not so much the end result as to finding out how the end result was achieved. That is the real triumph of this movie, and why it ranks very close to ALL THE PRESIDENT'S MEN, in my book.

Boring
I saw this film in a history class I was taking and it definitely was not viewed for the sake of accuracy, more as a comparative piece to an actual historical documentary and I must say I found the documentary of still pictures & voice overs more entertaining. I struggled to stay awake during this drag of a movie.

Spell binding from beginning to end
I had seen this movie only in bits before on TV but had never seen the whole thing. I recently purchased it and within the last week have literally watched it again and again. I can only vaguely remember hearing the words "Cuban Missile Crisis" when I was 8 years old and had no idea just how close we came to WWIII. This is an excellent, attention holding film. I loved Kevin Costner in this and also "JFK - a must see also". Both Greenwood and Culp did a wonderful job of portraying the Kennedy brothers. I would highly recommend this movie. Use both this and JFK to educate your children, if you can get past the foul language somehow.

COMPARE THE CUBAN CRISIS WITH IRAN-CONTRA
"Thirteen Days" re-created the Cuban Missile Crisis, elevating the Kennedys to virtual sainthood while painting Curt LeMay as an advocate for nuclear holocaust. It was a fantastic picture, like many of them, but in it is an interesting scene in which Kenny O'Donnell, played by Kevin Costner, tells a Navy plot to lie to LeMay about being shot at, because LeMay would supposedly have ordered a strike if he had been. The film paints this lie as the right thing to do because it advocates the Kennedy's position, which was to maintain level heads and a calm demeanor. However, in 1987 Ollie North was excoriated by the Left for lying about the funding of anti-Communist guerrillas, which was Reagan's position. Funny about that.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM ... Read more

Amazon.com

This thrilling, speculative story about the mystery woman whom Ludwig van Beethoven once identified in a letter as his "immortal beloved" is directed by Bernard Rose (Paperhouse). Gary Oldman plays the deaf genius with tragic brutality in a series of flashbacks that arise during a connect-the-dots investigation by Beethoven's secretary (Jeroen Krabbé), who is looking into the composer's love affairs to ascertain who held the key to his heart. Rose arrives at a moving if imperfect portrait of a complicated artist, and he pays gorgeous tribute to Beethoven's stolen innocence in childhood. (You may never hear the Ninth Symphony again without thinking of Rose's beautiful image of young Ludwig immersed in cosmic rapture.) Produced by Mel Gibson's company, Icon. --Tom Keogh ... Read more

Reviews (105)

you can always just close your eyes and listen to the music
Ludwig van Beethoven has died and bequeathed his estate to an unnamed woman. This is the tantalising premise for director Bernard Rose's film, and for it's first half it's compelling and beautifully made. Then Rose blows it, with a red herring about Beethoven's adoption of his brother's son, and though we do eventually return to the search, this misguided structure loses the audience. Fortunately, Rose floods the soundtrack with that glorious music. Rose coached a magnificent performance out of Virginia Madsen in Candyman, and does the same thing here for Valeria Golino, Isabella Rosellini, and to a lesser degree, Johanna Ter Steege. These women's eyes and skin and voices are shockingly intimate. As Beethoven, Gary Oldman looks right but is all externals. He bases his performance on the composer's deafness, turning him into a tormented neurotic which undermines Rose's romantic conceit (though isn't it always the miserable ones who creates things of great beauty?). Rose has eerie fun with acoustics, giving us Ludwig's distorted perspective, although he lacks the tabloid sensibility to match Ken Russell's flamboyant bio's. Russell too supported the exclusively autobiographical notion of an artist's work and Rose even makes the deafness Freudian. The stunning opening scene with crowds grasping for the coffin is evidence of Beethoven as pop star.

Simply Brilliant
Gary Oldman gives a tour de force performance as Ludwig Van Beethoven. The story centers around the search of the "Immortal Beloved". There were three letters Ludwig wrote, yet not mailed, that put his heart down on paper. Who was she? There is your search.

To see Ludwig place his head on the piano to hear the notes of "Adagio Sostenuto" or "Moonlight Serenade" is beyond beautiful. Bearing in mind that Ludwig can't hear, he has to "feel" the vibrations emanting from the piano. Gary Oldman simply at his his finest, as he is really playing Beethoven!

I have seen Amadeus, and it ranks as of my all time faves.....but to see the maestro Beethoven suffer, and be glorified thru his music is as close to perfection as one can ask.

I can only ask. If you were given a GREAT gift like Beethoven was....yet could not hear the notes you were composing......how would you react? After watching Gary Oldman, I can envision the great maestro himself nodding in agreement.

If you don't see this movie, you are denying one of the greatest performances by an all star cast. See this movie, see Ludwig as he was, and see the women who loved him through his difficulties.

Great actor, awful plot.
Honesetly speaking, I love this film only because I am a great fan of Gary Oldman. His performance is powerful and adorable, and you will be helplessly fallen in love with HIS Beethoven. Yet, back to the movie and the plot...

Hm. You have to admit, you just don't know why people would like to romanticise historical figure and make a great artist to be a character in those soap opera. Hm. No offense but this movie, to a certain extent, make things so superficial. The psychological twist of Beethoven's immortal beloved is omitted- everything was then become so awkward, and I can't help wondering whether or not shall I continue the movie~

Just watch the performance of Gary, and forget everything about the plot. Sigh.

This movie is about something but not Beethoven
I never thought I would see a topless woman in a film about a classical music composer, but there she was in "Immortal Beloved", with her assets clearly on display while a Beethoven piano concerto sounded over the visual scene. This, I think, sums up my opinion about this film: it is more pornography than art, more about the director's vision than about Beethoven, who did indeed have an "immortal beloved".

It's not just the porn that defeats this movie. The history portrayed in this film is nonsense. Virtually nothing is correct. Gary Oldham is an actor with little range whose career has been constructed around a number of poor, cheesy films, of which this is one. He was a terrible choice to play Beethoven, who was 5-foot 5-inches tall, had a fiery, miserable disposition, and was a misanthrope. Oldham, who is 6-feet tall, played the Titan like he was Franz Lizst, a playboy from 1850. For the record, by 1850 Beethoven had been dead 23 years!

There is one scene in this film, at the end, where Oldham -- playing the young Beethoven -- falls in a pond and the camera scans upward toward the heavens as Beethoven's "Emperor" concerto is being played. This is the one fulfilling moment in this otherwise incredibly poor film. I remember the production values being fine, so it deserves a star for that.

I heard a lot of complaining about Ken Russell's movie about Tchaikovsky, "The Music Lovers", but at least there Russell got the music right and included it in the movie with scintillating scenes of the 1st Piano Concerto and Swan Lake ballet. This one doesn't even give the viewer the benefit of a music video by Ludwig van. Pity that, for it would have given us a reason to watch. As it is, anyone that wants to know anything about Beethoven should avoid this abomination.

This is not Beethoven....
Beethoven is one of my favorite composers. I took an extensive Music Course dedicated to this fantastic composer. As much as I like Gary Oldman's acting, I could barely watch this film. This is not his life, this woman was not his love, this is NOT Beethoven. Watch Amadeus if you want to see a great film about a great composer. Another reviewer wrote that Beethoven deserves the same treatment as Mozart got in Amadeus. He absolutely does. He was a tremendous man, complex and misunderstood, but beloved by the ALL of Europe by the time of his death. His memory still awaits a film dedicated to his real life and tumultuous, brilliant, disturbed life.
Better spend your time watching something else. ... Read more

Amazon.com

A lyrical and nostalgic film from director Robert Redford (Quiz Show, Ordinary People), based on the popular autobiographical novel by Norman MacLean, A River Runs Through It shows the best that modern filmmaking has to offer. The film chronicles two brothers coming of age in early-20th-century Missoula, Montana, under the stern tutelage of their minister father, played by Tom Skerritt (Top Gun). Their father instills in them a love of fly fishing, which for one brother (Brad Pitt) becomes a lifelong passion even as he sets out to become a newspaperman and struggles with his addiction to gambling. The other brother, Norman (Craig Sheffer), dreams of exploring the world outside of Missoula as he falls in love with a local girl (Emily Lloyd) who also dreams of broader horizons. Soon one brother must discover the true meaning of family loyalty when the other finds himself in deeper trouble than ever before. Redford, who also narrates the film, does a masterful job in re-creating the period and in drawing out affecting performances from his young cast. An Oscar winner for Philippe Rousselot's luminescent cinematography, this is a poignant and special film. --Robert Lane ... Read more

Reviews (66)

Another Directorial Accomplishment
Robert Redford won an Oscar for his direction of, "Ordinary People", in 1980. He has since directed films like, "Quiz Show", and this film, "A River Runs Through It", with consummate skill. He also founded The Sundance Film Festival which now routinely introduces new talent in all aspects of the making of movies on an annual basis.

His only direct presence is the narration he does at various times during this movie. It also does not take a great deal of imagination to see in the actor Brad Pitt, of 11 years ago, a man that bears a remarkable resemblance to Redford himself. This story of the zeal with which aficionados dedicate themselves to the art of fly fishing is a beautiful film to watch. Redford puts Montana on the screen in such a way as to make virtually anyone desirous of having a home amongst the mountains.

The story is much more than a feast for the eyes as the story of a minister's two sons, who are strictly raised, ultimately have such divergent lives, both in type and length. This is not a very happy story, although it has moments of pure joy that balance tragedy as well as tragedy can hope to be balanced. One of the best examples is when Brad Pitt as Paul does battle with a prize catch in one of their favorite rivers. To say he almost fights the fish in its world as opposed to his own is not much of a stretch, and it is wonderfully filmed.

Robert Redford has made his place amongst the legends of the film industry, and he has done this by not only appearing in front of the camera, but behind it as well.

Cinematic Poetry.
I don't think anybody who has ever visited the American West, particularly the north-western states of Montana and Wyoming, hasn't come away deeply impressed with the majestic beauty of their mountains, rivers, streams, endless skies, prairies and meadows. Many probably went home to find that the photos they took, trying to immortalize their impressions, just didn't seem to do justice to the real thing, and wishing they possessed the craft to adequately capture the region's beauty in images, whether literary or visual. Robert Redford has succeeded to combine words and pictures in this stunning adaptation of Norman Maclean's 1976 autobiographical novella "A River Runs Through It."

Set in early 20th century rural Montana, this is the coming-of-age story of the author and his brother Paul, sons of a Scottish Presbyterian minister who raised them with both love and sternness and instilled in them, more than anything else, an understanding for the divine beauty of their land, symbolized by and culminating in a fly fisherman's skill in casting his rod, and his ability to become one with the river in which he fishes. For, in Norman Maclean's words, in their family "there was no clear line between religion and fly fishing;" and growing up, the brothers came to believe quite naturally that Jesus's disciples themselves must have been fly fishermen, too; and that consequently every good fly fisherman is closer to the divine than any other human.

But while they were united by their love for their native land and its rivers and fish, the brothers couldn't have been any more different on a personal level. And thus, this is also a story of brotherly (and parental) love and loss, of the inability to communicate, and of dreams and aspirations nurtured and fatally disappointed. While disciplined, sensible Norman (Craig Sheffer) left Montana for a six-year college education at Dartmouth and ultimately - after having temporarily returned home and taken a bride - to assume a teaching position at the University of Chicago, rebellious Paul (Brad Pitt in a truly career-defining role) knew that he would never leave his home state and "the fish he had not yet caught;" and opted for a journalist's life instead. But ultimately he wasn't able to fight the demons that possessed him; and his parents and brother had to stand by and helplessly watch him embark on a path of self-destruction, reduced to comments on symbolic matters like Paul's decision to change the spelling of their last name by capitalizing the "L" ("Now everybody will think we are Lowland Scots," scorned their father), where to open topicalize their concerns would have destroyed the careful equilibrium of mutual respect, love, hope, caution and guardedness characterizing their relationship. And so, only after Paul's death could his father tell a hesitant Norman that he knew more about his brother than the fact that Paul had been a fine fisherman: "He was beautiful" - and mourn in a sermon, even later, that all too frequently, when looking at a loved one in need, "either we don't know what part of ourselves to give or, more often than not, the part we have to give is not wanted. And so it is those we live with and should know who elude us. But we can still love them. We can love completely, without complete understanding."

Craig Sheffer and Brad Pitt are perfectly cast as the earnest, reasonable Norman and his maverick brother Paul, who relies on his innate toughness in his fateful attempt to take life to its limits and still beat the devil, but who also turns the casting of a fishing line into an art form that makes a rainbow rise from the water, and who with his greatest-ever catch stands before his father and brother "suspended above the earth, free from all its laws, like a work of art." Moreover, this movie reunited Robert Redford with Tom Skerritt, with whom he had first shared the screen in the 1962 Korean war drama "War Hunt" (both actors' big-screen debut), and who gives a finely-tuned, sensitive performance as the Reverend Maclean. Notable are also the appearances of Brenda Blethyn as Mrs. Maclean and Emily Lloyd as Norman's bride-to-be Jessie. But the movie's true star is Montana itself, particularly its rivers and streams; every frame of Philippe Rousselot's Academy Award-winning cinematography and every sweep of the camera over Montana's magnificent landscape, and along the silver bands of its rivers with their gurgling cataracts and waves curling softly against their banks, powerful testimony to Robert Redford's genuine love and respect for the West and for nature in general; the causes closest to his heart and matched in importance only by his efforts to promote a movie scene outside of Hollywood. And Redford himself assumes the (uncredited) role of the narrator, thus bringing to the screen Norman Maclean's lyrical language and uniting words and pictures in an audiovisual sonnet, subtly accentuated by Mark Isham's gentle score.

Both movie and novella end with the lines that have given the story its title: "[I]n the half-light of the canyon, all existence fades to a being with my soul; and memories, and the sounds of the Big Blackfoot River, and a four-count rhythm, and the hope that a fish will rise. Eventually, all things merge into one; and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs" - those of Norman Maclean's now-lost loved ones; those he "loved and did not understand in [his] youth." As we have had to learn, it is not only human life that is terminal; even nature itself (including, incidentally, the Macleans' beloved Big Blackfoot River) is not immune to destruction by human carelessness. This movie is a powerful plea to all of us not to wait until it has become too late.

The ONLY Movie I Have Ever Cried To !
A River Runs Through It is a stunning accomplishment for Robert Redford. The story is captivating, and yet one of the saddest movies I've ever seen.

This movie will produce feelings that will linger with you long after the ending credits !

Transendentalism (sp.?)
Way back in English Lit, University of Oregon, 25 years ago, I remember one idea that that once something achieves perfection in anything, it self distructs, always. A near perfect chair exists, a near perfect painting, a near perfect poem, a near pefect fly fisherman. But none of these exist in a perfect form. There is only one perfection and to attempt to mimimic it assures distruction.

This movie portrays that notion, just fine.

Beautiful cinema
This movie has some amazing cinematography. I've only been to Montana as a kid for very little time, but I wish I could visit again. The movie is about two different brothers brought up in Montana their father plays an important role in the movie also. There are scenes of fly fishing in this movie that are worth the price of admission. Also this film is well narrated by Robert Redford, it never distracted me and that's hard to do with a star that has such a familar voice, but it fits in so well. A gem, that may not be for all action film fans but a drama that will please many. ... Read more

Reviews (4)

The Girl on the Piano with the Big Voice
The Helen Morgan Story is a formula biopic with equal parts soap, song and gin. The thing that makes it stand out are three very good performances and a wonderful parade of vintage 1920's hits voiced for the star by Gogi Grant.
From the moment the film begins to unreel with its Broadway marquee titles you know you are in for a good old-fashioned tearstained campy drama. Loosely based on the life of Helen Morgan, who is most famous today for creating the role of Julie in the groundbreaking "Show Boat" in the 20's. The film centers on her rise and fall as well as her unrequited love for gangster Larry Maddux.
Playing the title role is Ann Blyth who does her best to give Helen all the pathos, drama and tragedy required in such a story. She does a fine job but one can't help but recall her best work as Veda in Mildred Pierce. Some years earlier.
The real stars of the show are comedian Alan King, TV star Cara Williams and a new guy to pictures by the name of Paul Newman. These three pros take a filmland formula and mix it until it explodes.
Alan King is quite a fine actor as well as a gifted comedian. He imbues the character of Benny Weaver, Larry's partner with life and humor. As Helen's best friend and Benny's moll Cara Williams shines.
But the best performance is given by a very young Paul Newman who shows us just what he could do with the good for nothing huckster role. He soars in the role and gives us a preview of some of the better roles he will fill out in the future from Fast Eddie to Hud.
The black and white cinematography by Ted D. McCord is stunning as are the sets and costumes. And the Warner Brothers orchestra makes the mono soundtrack burst its boundaries to near stereophonic sound. The dirction by Michael Curtiz who had been making films since 1912 is solid and dependable.
One hopes that there may be a DVD release of this film in the future.

musical melodrama supreme
Ann Blyth stars as ill-fated torch singer Helen Morgan in the musical biography THE HELEN MORGAN STORY.

Ann Blyth (ROSE MARIE, KISMET), and Paul Newman (CAT ON A HOT TIN ROOF, TORN CURTAIN) make for an electrifying screen couple. The story of Helen Morgan is given a reverent re-telling with an intelligent if overly-sentimental script. Helen Morgan is perhaps best-known for creating the role of Julie LaVerne in the original Ziegfeld production of "Show Boat".

Ann Blyth's vocals were dubbed here by Gogi Grant. The supporting cast includes Richard Carlson, Gene Evans, Alan King and Cara Williams.

Directed by Michael Curtiz.

Excellent Movie
I happened to be in the video store and was looking through my favorite section (classical movies) when I decided this looked interesting. I had no idea I would be so pleased! Paul Newman gives a wonderful performance of a man set to achieve his ambitions by using the woman he loves, never realizing how his actions are working to destroy them both. The songs are great and Blyth is also wonderful. I will be buying my own VHS of the movie soon.

GOOD GUY BAD GUY???
I FIRST VEIWED THE HELEN MORGAN STORY WHEN I WAS ABOUT 11 0R 12 SINCE THAN IT HAS BEEN MY FAVORITE MOVIE AND THATS WHEN I FELL IN LOVE WITH PAUL NEMAN. IT TOUCHED ALL EMOTIONS ..THE MUSIC WAS WONDERFUL.GOGI GRANT'S VOICE WAS GREAT. ANN BLYH WAS PERFECT FOR THAT BABY GRAND PIANO,SHE COULDN'T HAVE GIVEN A MORE BELIEVABLE PERFORMANCE AS THE TINY LITLLE GIRL WITH THE GREAT BIG VOICE..IT WAS FULL OF GLAMOUR AND GAYIETY. IT BROUGHT TEARS TO MY EYES .PAUL NEWMAN WAS A GREAT GOOD GUY BAD GUY,NOBODAY COULD HAVE PLAYED THE PART OF LARRY MADDUX BETTER CARA WILLIAMS AND ALAN KING ADDED A GREAT TOUCH OF ROARING 20'S HUMOUR ..IF ANYONE WANTS TO HAVE AN EVENING OF MUSIC,HUMOR AND ALOT OF TEARS, I WOULD HIGHLY RECOMMEND THIS MOVIE DONNA. ... Read more

Amazon.com

The Story of Vernon and Irene Castle was the last of nine films Fred Astaire and Ginger Rogers made together for RKO Pictures, and it is unlike any other. For the only time, Fred and Ginger play historical characters--the legendary dancing duo that was all the rage between 1912 and 1916--and a married couple, no less. Instead of their usual innovative, plot-driving dances, Fred and Ginger perform pastiches of what the Castles made famous--the fox trot, polka, and tango. And rather than an original score of great American standards by Berlin, Kern, or the Gershwins, the film uses a collection of period tunes, including "By the Light of the Silvery Moon" and "Waiting for the Robert E. Lee." No, this is not Top Hat, but fans will enjoy the film anyway. Vernon and Irene Castle is an affectionate tribute to a bygone era and to a team that Fred said was "a tremendous influence" on his career. As portrayed in the film (which was based on Irene Castle's memoirs and input), Vernon Castle is a small-time vaudeville comedian when he meets and marries Irene. The two not only manage to forge a career as proper, respectable dancers, they become the essence of style, setting national trends for dance, fashion, and even women's hairstyles. The film briefly touches on Fred and Ginger's usual themes of pursuit and union, but mostly they are warm and tender together as they deal with real-life problems, perhaps portraying the earlier films' characters after those "happily ever after" fantasy endings. And as we watch the Castles' performing career rise and decline, straight through to the film's touching last shot, we realize that Fred and Ginger are saying farewell, which makes The Story of Vernon and Irene Castle an appropriate finale to the most glorious partnership in Hollywood history.--David Horiuchi ... Read more

Reviews (11)

fine musical
Fred Astaire and Ginger Rogers portray the dance team of Vernon and Irene Castle in the passable romantic musical THE STORY OF VERNON AND IRENE CASTLE.

The story is heartfelt, deeply sentimental and quite delightful. Ginger is luminous and she is affecting in the final scene. Her breakthrough dramatic performance in KITTY FOYLE has it's roots here.

Historically accurate, Fred and Ginger dance up a storm in an array of styles. The real Irene Castle designed Ginger's costumes herself.

All-in-all, a good effort from all concerned.

Fitting swan song for Fred and Ginger at RKO
This is the ultimate way for a top flight screen team to go out in style. "The Story of Vernon and Irene Castle" was the ninth teaming of the legendary dance team of Fred Astaire and Ginger Rogers and was a fitting conclusion to one of the greatest screen collaborations in movie history. While they would reteam at a later date for "The Barkely's of Broadway" it is for their RKO films that they are rightly remembered.

This excellent film has a very bittersweet feeling to it as we as viewers know that this is the last teaming by the two stars. The film combines drama, period detail and strong doses of sentiment and romance into an unusual vechicle for Fred and Ginger. For the first time in their teaming they portray actual historical figures..the legendary American dance team of Vernon and Irene Castle who in the early part of last century created a world wide sensation with their innovative interpretations of the foxtrot and polka among other numbers. They were also famous for a few of their own creations such as the Castle Walk which created a dance craze like no other the world has witnessed.

The story follows their life story together from Fred starting out as a second string vaudeville star to his marriage to Irene, to their lean years hiding from paying the rent in rundown hotels through to their great success in Paris on to when they become the toast of the dancing world. History is also incorporated into the story whereby World War 1 seperates them at the height of their success and concludes with Fred being killed in a flight accident. Rarely has there ever been anything about real life included in an Astaire & Rogers production but the two stars rise to the occasion beautifully and it is I feel their most heart felt production. Gone from this production are the mistaken identity plots so often used in their past vechicles together. Here we see what could really be classified as a drama combined with the most beautiful dance sequences you could imagine. In that way "The Story of Vernon and Irene Castle" is just as memorable as their earlier great successes together like "The Gay Divorcee", "Top Hat"' and "Swing Time".

The look of this production is really beautiful with all the great attention to the period detail. Indeed I often think this film has an MGM look about it so meticulous is the attention to appropiate costumne and settings. Ginger Rogers, who by this stage was starting to branch out into solo work with other leading men in a mixture of comedies and dramas is exceptional as Irene and she mentions in her autobiography that she had the real Irene Castle to contend with during this production as a creative adviser which was a very unnerving experience for her. She need not have worried as she delivers a wonderfully balanced piece of acting here and her character progresses beautifully from naive small town girl into a sophisticated woman of the world and the envy of every woman of her generation. In particular the scenes of her effect on the women of her time are both beautifully and amusingly done with her influence moving into fashion, face cream, hair styles etc . Fred Astaire , it goes without saying is in top form in thi sproduction and his dancing both in solo numbers and combining with Ginger are a real joy to witness and reveal why he is regarded as the greatest dancer movies have ever witnessed.

The supporting cast also adds wonderfully to the great feel that this film delivers. The wonderfully talented character actress Edna May Oliver, a supporting performer in countless memorable Hollywood productions, plays Maggie Sutton the gruff business manager with the heart of gold who sees the Castle's progress from poverty to world wide success and ultimately tragedy. Walter Brennan lends very able support as Fred's friend Walter who is a constant presence in their lives and is also, like Maggie, along for a life journey with the Castles.

For those of you who love fine dancing performed by the masters "The Story of Vernon and Irene Castle" can't be faulted. This film is unique in that it displays Fred and Ginger team as real life historical characters who gave the joy of dancing to a whole new generation. It's a beautiful production and is a wonderful showcase for the shining talents that were Fred Astaire and Ginger Rogers.

wonderful
this movie is so sweet. After seeing eight preceeding films (all wonderful no doubt)where they squabble, it's so sweet to see them really act like a couple. The scene on the balcony of the Paris apartment, where Fred kisses her is aborable. Not to mention the acting is ducky. It would be easy to overact in a film like this but they pull it off fine. Ginger is a little scene stealer. (what else is new)

A mildly disappointing end to their amazing run at RKO
THE STORY OF VERNON AND IRENE CASTLE is one of the most disappointing films in the extraordinary musical partnership of Fred Astaire and Ginger Rogers, and I frankly am utterly perplexed by the long line of five star reviews it has been getting here. Have these reviewers seen their other films? Fred Astaire is one my idols, and I have over the years seen all his musicals for an accumulated total of over 140 times, including TOP HAT nearly 20 times alone. So, my relatively low regard for this film is not a reflection of my overall regard for Fred and Ginger.

The problem with THE STORY OF IRENE AND VERNON CASTLE is that absolutely none of the things that made Astaire and Rogers so great are able to make an appearance. Instead of the brilliant and innovative dances that invigorate their films, they have to do the famous dances of the Castles. Instead of great, original songs written especially for the film by some of the legendary songwriters of all time, they do period songs that fall short of the songs of their best films. Instead of a host of great comic actors and actresses that give the film a hysterical vitality, we get a rather average cast of characters. And instead of watching with delight Fred and Ginger's comic and musical courtship, we know how this one is going to end (at least those of us who know something of the Castles). In other words, the almost limitless possibilities that energize the typical Astaire-Rogers film is missing because of the need to tell someone else's story.

It isn't that this is so much a bad film as it is a waste of Fred and Ginger's talents. You could have had far less gifted musical performers do the Castles's numbers. You could instead have worked up a completely original story for Fred and Ginger. As it is, their last RKO picture ends up being their least interesting. They did perform one more time, for MGM in THE BARKLEYS OF BROADWAY, but by then the magic was gone. That which had made them so unique and special didn't survive the horrors of WW II, and their tenth and final film seemed strangely out of place.

I wouldn't discourage anyone who hasn't seen this film not to, but I will say that one could do themselves a far greater favor by rewatching one of their classics, such as THE GAY DIVORCEE, TOP HAT, or SWINGTIME. Or even FOLLOW THE FLEET, which had a terrible story, but featured some of their very greatest dances, including the extraordinary "Let's Face the Music and Dance," arguably their greatest number together.

Heartfelt
A must for fans of the talented Fred Astaire and Ginger Rogers. I was moved to tears at times, and the next minute I was laughing. They did such a beautiful job of protraying the real Irene and Vernon Castle. The real Castle's would have been proud of the way this movie was made. Fred Astaire was such a joy to watch, and I think this is my favorite Ginger Rogers movie. She brings class and grace to her character. I would recommend this to anyone who is in search of a movie that touches the heart. ... Read more

Reviews (4)

We invite you to Le Cafe Singe Bleu
It's interesting how people can see the same movie and come away with different impressions of it. A reviewer below wrote: >>Unfortunately, CHARLIE CHAN IN PARIS is among them, with an early scene allowing one character to address Chan in pidgin English--and then requiring Chan to play into the joke. Modern viewers will likely find the scene distasteful; this aside, however, CHARLIE CHAN IN PARIS is a reasonably entertaining entry in the series<<< and I frankly find this a surprise. Chan makes a fool of Max Corday (the man who spoke to him in Pidgin English) by speaking in pidgin first, and then perfect English. Corday is embarrassed and humbled, as Chan intended. All officials in the French police force treat Chan with respect. Making the point that 'the educated masses' are not racist, only ignorant people are.

Having said that, Charlie Chan in Paris is one of my favorite Chans, not the least because it introduces Keye Luke and has one of my favorite actors, Erik Rhodes...

One of the Better Chan Films
CHARLIE CHAN IN PARIS is one of the better entries in the Chan series. It is the tenth Charlie Chan film and the seventh in which Warner Oland plays the role of the venerable detective. It marks the first appearance of Keye Luke as Lee Chan, Charlie's number one son.

Philip MacDonald wrote the screenplay. Earl Derr Biggers, the author of the six Charlie Chan books, had died in 1933.

Enjoyable but Slightly Patronizing
Although Charlie Chan films were no more nor less stereotypical in their presentation of the Inscrutable Chinese Detective than such series as Blondie were of the Crazy Blonde Housewife, some early Chan films did engage in a certain amount of regrettable patronization. Unfortunately, CHARLIE CHAN IN PARIS is among them, with an early scene allowing one character to address Chan in pidgin English--and then requiring Chan to play into the joke. Modern viewers will likely find the scene distasteful; this aside, however, CHARLIE CHAN IN PARIS is a reasonably entertaining entry in the series, starring the always welcome Warner Oland (the original Chan) and Keye Luke (the most enjoyable of Chan's tag-along sons) in a story concerning bond fraud in the city of light.

As the series evolved, writers became increasingly astute in their presentation of Chan, and while some characters might mock Chan, he inevitably shows them up by using their false impression of his intelligence to his own advantage. By the time Sidney Toler replaced Warner Oland (who died unexpectedly), moments of bad taste such as found in this particular film were exceedingly rare. While several of the best Chan films--such as AT THE OPERA, AT THE WAX MUSEUM, and CASTLE IN THE DESERT--are available on video, it is extremely regrettable that the vast majority of Chan films have never been released to the home audience; fans of the series should look for such films as AT TREASURE ISLAND and IN PANAMA on occasional cable television Chan film festivals.

the series hits it stride..a must
the movie seems to be the unoffical start of the series as we love it...number one son debut helps ..it has sex//comedy// a good ending//a must see ... Read more

Amazon.com essential video

For a full dose of pure, unfiltered Joan Crawford, look no further than this slab of scorching film noir. Crawford is in her element as the heroine of James M. Cain's pulp-fiction classic, a ditched wife and mother who is forced to become a waitress. On the strength of Crawford's steely willpower (and maybe those intimidating wide-wing shoulder pads), she constructs an empire of eateries, only to be disappointed by her rotten daughter (Ann Blyth) and a ferret-faced new husband (Zachary Scott). Director Michael Curtiz (Casablanca) whips up a storm of atmosphere, and the script is a series of tartly written exchanges. The best lines go to perennial wisecracker Eve Arden, as Crawford's acid-tongued pal--she earned her only Oscar nomination for the role. Commenting on the ungrateful daughter, Arden says, "Alligators have the right idea. They eat their young." Crawford herself took home the best actress Oscar, and the film was a triumphant personal comeback: her longtime studio MGM had released her from her contract before Mildred Pierce came along. Is this great acting? (Pauline Kael called it "heavy breathing.") Whatever Joan Crawford is doing in this movie, it's movie presence at its most formidable. --Robert Horton ... Read more

Reviews (64)

Mean, moody, magnificent!
MILDRED PIERCE (1945): A downtrodden housewife (Joan Crawford) works hard to become a successful restaurateur in order to accommodate her spoiled daughter (Ann Blyth), leading to betrayal and murder...

The movie which netted Joan Crawford her first and only Oscar and revitalized her flagging career is a top-class melodrama, beautifully constructed by screenwriter Ranald MacDougall (from a novel by James M. Cain) and photographed in moody black and white by ace cameraman Ernest Haller (HUMORESQUE, REBEL WITHOUT A CAUSE). Aimed at the market for so-called 'women's pictures' which had emerged during the Second World War, the movie contains all the ingredients of a modern day soap opera, piling the agony on Crawford's tragic character until she's redeemed by a moment of happiness at the very end of the picture. Crawford is a tower of strength in the leading role, and she's given strong support by an exceptional cast, including Blyth (KISMET, THE HELEN MORGAN STORY) as her vicious, mean-spirited offspring, character actor Jack Carson as a wily businessman who pursues Crawford romantically and loses out to a succession of unsuitable paramours (including a deceptively suave Zachary Scott in one of his first screen appearances), and Eve Arden in a hilarious turn as Crawford's friend and business colleague who doles out the wisecracks like candy (after being leered over by Carson, she retorts: "Leave SOMETHING on me, I might catch cold!"). Attentive viewers will be amused by some eyebrow-raising dialogue which hints at a lesbian subtext in Arden's character, having somehow managed to elude conservative-minded censors in 1945! By this stage in his long career, director Michael Curtiz was an old hand at this sort of thing (ANGELS WITH DIRTY FACES, CASABLANCA, etc.), and he orchestrates the dramatic highlights with visual aplomb - the confrontations between Crawford and Blyth are particularly strong, though Crawford's stubborn devotion to such an ungrateful daughter seems faintly ridiculous at times - and the sumptuous production values represent Hollywood craftsmanship at its finest. Beautiful, doom-laden score by Max Steiner, incorporating a number of cues heard earlier in NOW, VOYAGER (1942), and vivid, expressionist set designs by Hollywood veteran Anton Grot. Butterfly McQueen (immortalized forever in GONE WITH THE WIND) appears uncredited as Crawford's maid.

Warner's region 1 DVD - which runs 110m 40s - reproduces the 1.37:1 frame in full-frame format, and picture quality on this fully restored print is absolutely stunning, with barely a mark on the entire negative. The 1.0 mono soundtrack is clean and forceful, and English captions and subtitles are included. For some reason, Warner has opted for a two-sided presentation rather than dual-layer, which means you have to turn the disc over to access a series of trailers from Crawford's heyday at Warner Bros. (including one for MILDRED PIERCE itself) and a fascinating documentary on Crawford's life and career (86m 58s), produced for the Turner Classic Movies channel in 2002. Contributions from co-stars, family and technical personnel provide a rounded picture of Crawford from her beginnings as a wild party girl to a respected actress whose career hit rock bottom toward the end of the 1960's. The documentary doesn't shy away from allegations of abusive behavior made by her adopted daughter Christina (the basis for MOMMIE DEAREST, book and film), but it also reminds us of her enduring legacy as one of the shining lights of Hollywood's golden age.

Joan's Oscar!
Bette Davis turned down this tawdry tale of a housewife who becomes a tycoon from baking pies and starting a restaurant chain called (surprise) Mildred Pierce. Joan's fantastic as the betroubled mother of two daughters, Kay and Veda. But this brings up the weakest element of this classic film. Veda is such a creamy, hard-boiled monster that you can't believe her (played in an unreal, strange way by Ann Blyth). Nor is it possible to believe Mildred would keep forgiving her for all the horrible things she does. Bizarre as it sounds, I wish Bette Davis could have played the Veda role and oh, boy, would things have exploded. Blyth is much too cool and marbelized while Joan keeps forgiving, forgiving. Still, the movie is wonderfully produced with great sets, photography, and yet another memorable film score by genius Max Steiner.Eve Arden brilliantly portrays Ida, everybody's chum, who says at one point to Mildred: "Alligators have the right idea. They eat their young." After sitting through this, you may also wonder how this movie would have turned out if Bette had taken the role of Mildred--or in our fantasies, the role of Veda. Anyhoo, bravo to Joan who really deserved the Oscar she won.

A classic!
A fantastic movie! Beautifully directed, wonderfully acted, and a great story!

If you enjoyed the movie, read the original by James Cain. There are a few things about Mildred that the movie didn't tell - it may surprise you!

Ultimate Crawford
Here is the story of your average post-World War II housewife who believes that nothing is too good--or too much--for her two precious daughters. By the time this great soap opera is over, she has buried one child, experienced the murder of a cheating, mooching sleazeball of a husband, sent the other daughter off to prison, and gone into bankruptcy. But at least Eve Arden's character is good for a few laughs. At the end, though, she seems to reconcile with her first husband, whom she kicked out of the house in the first reel for losing his job. It's nice to know one can sometimes start out all over again.

Essential for Old-Movie Fans
Everyone who has a weakness for old movies should have this one in his/her collection.
Steely Joan Crawford evokes sympathy as an abandoned, financially-strapped wife and mother, though you know all along that Mildred will make it somehow.
Make it she does, stumbling into the restaurant business and making a success of it in spite of the fact that men find her so darned irresistible that she has to stop and peel one off every few steps.
Adding to Mildred's troubles is the fact that oldest daughter Vida(played by dewy-eyed young beauty Ann Blyth) has become an insufferable snob somewhere along the line, in spite of her middle-class upbringing. Mildred worships Vida, in spie of the fact that Vida is moody, verbally abusive, and impossible to please.Vida wants to be "rich", but when Mildred makes lots of money, it still doesn't suit Vida because her mother worked (ew, yuck) for it. You wish that Mildred would shake her, or at least ground her.
Eve Arden, one of my all-time favorites, is her usual wonderful self as Mildred's shrewd secretary and loyal friend.
Butterfly McQueen gets wasted once again in the role of the family's maid.
Even if you're not a Joan Crawford fan, buy this one; it makes terrific rainy-night viewing. ... Read more

Reviews (13)

This movie is a great film!
Curly (Shirley Temple ) and her sister Mary are secretly adopted by Mr. Jones. Curly adds joy to Mr. Jones life while Mary falls in love with Mr. Jones. Curly sings and dances through-out the movie with some of her best songs yet. She sings "When I Grow-up" and "Animal Crackers in my Soup". Mary and Mr. Jones also sing and play a few songs as well. There are a few comic moments and the ending is a happy one. This film is apporiate for people of all ages and a film everyone can watch over and over again. Curly Top is wonderfully cheographed and has a great moral to the story.

A delightful Shirley Temple Film!
Shirley Temple is pint-sized in this film and is fun to watch as she sings some of her number one theme songs "Animal Crakers in my Soup" and "When I Grow Up." Shirley plays Elizabeth, an orphan living at an orphange that her sister Mary works at. Shirley charms one of the trustees and he imediately falls in love with her spunk. The movie has some entertaining moments that strike us all. I always laugh when Elizabeth is trying to adjust to her new rich and spoiled life. All though Shirley seems to be sweet and innocent through the whole movie, she has a selfish point where she says she rather have a pair of roller skates when her gaurdian gives her a pearl necklace. She saves that little rude comment by putting on a benefit for her orphan friends. The story line at times is hard to follow, but as always ends happily. Curly Top is a wonderful movie for young children, but doesn't have a moral or a point. Shirley of course will dazzle you!

Wonderful!!!!
Shirley stars as loveable Elizabeth in this movie. She and her older sister Mary live in an orphanage where the girls are not allowed to sing which is hard for Elizabeth. But one day a man named Mr. Jones comes and visits the orphanage and falls in love with Mary, who is much younger than him. He and Elizabeth take to each other right away and her golden curls earn her the nickname, Curly Top. But Mary recieves a marrige proposal from a boy her age, and Mr. Jones is jealous and upset. Will Mary realize that she and Curly Top belong with Mr. Jones? Find out in Curly Top!

One of the cutest movies ever
... enough said about that, but why did FOX Video spend all their money for colorizing a charming silver screen movie -instead of actually RESTORING it? This was a hit movie in the 30s, there must be dozens of copies still available from which they could have made a mint-condition B&W video release, knitting together the good pieces. Bigger scratches could have been re-touched, the audio digitally remastered and sent carefully through a noise reduction filter. But no! They splashed all sorts of unnatural colors onto the poor film; esp. in scenes with moving camera the color layer shakes visibly. No use switching your TV to B&W - contrast and fine details are all gone. Bad job, FOX.

GOTTA BE ONE OF SHIRLEY'S BEST.
Shirley Temple, whose career as a child star was over by the age of 10 (and who, according to her very good autobiography, reaped a mere $18.00 from it when she asked her father for her reapings upon her second marriage), shines and super-shines in this adorable and heart-rending film.

She and her sister are orphans. A mysterious benefactor adopts them and they enter a life of luxury, but also a life of love. Rochelle Hudson is delicately beautiful as the sister, and John Boles is excellent and exceedingly handsome. I wonder what happened to them both?

"Animal Crackers" and "When I Grow Up" are the top numbers, as well as several sung by Boles and Hudson. All works out as it should be.

There's just something very moving about this movie. It's a genuine heart-tugger.

And Shirley is simply a delight! So glad the camera caught this amazing little girl with such a natural talent shining through her girlhood. ... Read more

Amazon.com

Though it may be thought of as sacrilegious to remake a classic such as The Wizard of Oz, this 1978 film directed by Sidney Lumet (The Pawnbroker, Serpico) is a vibrant and entertaining retelling of the modern fable, featuring an all black cast in the familiar story of a rural small-town girl whose dreams transport her to a magical world where the battle between good and evil gives the real world a sense of perspective. Rendered in the style of a musical (based on a successful Broadway run), the film benefits from using new contemporary music from stars Diana Ross (Mahogany, Lady Sings the Blues) as Dorothy and Michael Jackson as the shy Scarecrow, with music arranged by Quincy Jones. This visually and musically exciting film is less a remake than a reinvention that stands and dances very well on its own. --Robert Lane ... Read more

Reviews (120)

What Can I Say.....
Oh boy, where to start? This seems to be one of those movies where you either hate it or love it. This update of The Wizard of Oz, while for years vilified, has seemed to have gathered a cult classic-like following in recent years. It bears little resemblance to the 1939 Judy Garland masterpiece, or even for that matter, to the Broadway musical upon which it was based. The original musical was light and entertaining, inspirational and fun. This 1978 motion picture is a pretentious adaptation tht simply tries too hard. the film-makers turned the simplistic story of a young girl lost in a strange land into an overly glitzy, glamorous, and gaudy film. Despite this, there are some awesome moments in this movie, most notably: the stunning New York City visuals, great performances by Mabel King as the Wicked Witch and Ted Ross as the Cowardly Lion, wonderful music, and impressive and incredibly choreographed dances. However even that can't save the movie. It still manages to fall flat, not living up to the promise, vision, or scope of the simple story upon which it is based.

Unbelievably Fun
Boo, hiss to all the naysayers of the one and only 'Wiz'. A few of my friends got together at the DVD store the other night and out of all the available titles settled on this one, primarily for nostaligic reasons. Once we got home and popped it in, well, it was more than just simple sentimentality that carried us off to another world. This musical is awesome. The story is timeless, the songs are unforgettable and the widescreen transfer is excellent. One only wishes for more goodies on the disc.

I often scratch my head at why Sidney Lumet directed this, but knowing that he is one of the top five directors ever who understands New York City, it now makes perfect sense. The location shots are amazing, especially with the massive Albert Whitlock visuals. And as hard as it may be to watch Diana Ross play a 24 year old single woman, she achieves it with simple gestures and that pure, honey voice.

It's a huge treat to watch this movie and I look forward to repeat viewings.

THE WIZ....HAS SOUL!!!
The Wiz music will always be a classic. This is my only reason for buying this movie. It was definetly a 70's show. I was confused about certain scenes in the movie. For example, why did Aunt Em start singing "The Feeling We Once Had" to her daughter instead of Dorothy. And how did the Scarecrow know to signal Dorothy to destroy Evilene. The choreography and the music was great. Good for children to see!

BLACK PEOPLE, BUY THIS FOR YOUR KIDS!!!!
A MUST for every black child to see!! This is OUR classic production. Many great actors/actresses were young budding talents when they performed in the Wiz. It's great to see them then & know them now. My kids enjoyed the music & loved the dancing.

You should see the Whiz all over my tape!
this movie was okay, but all admit it was a disapointment. lookit dorothy with this afro, and this obese aunt em, god! you people have distoryed this tape! well hey the lion-- is lioney, the scarecrow dosen't sound like a girl and the tin mans chipper. except for the fact that they had good songs, and singers and all that other junk. the effects were sort of lacking, but hey-- it is not bad. its okay, but it is not that great, seriously people. this 3 star rating suits it. ... Read more

Reviews (1)

Near classic
Vincent Price did not always do horror movies, but he was always a good actor and this film proves it. Price actually does not play the heavy in this film, that role falls to George Sanders who excels in a role where he deals out treachery. Price, Sanders and Margeret Lindsay all give outstanding performances. This may not be Vincent Price's best film, but it certainly ranks up there as one of his best performances. This is not a horror film, but it is a dark film that shows the impact greed can cause. The ending seems a little rushed, but it is still effective. There are no special effects and just simple sets, but the story and fantastic acting make this a great film for a wide range of viewers. ... Read more

Reviews (12)

Not the fun kind of chicken ranch...
Ok, to start with, yes, this movie was so funny I choked. Like the other reviewers, I only bought it for my precious Bob. To answer some questions you may have, no, the main character and Bob do not get it on in the hay, because she's not that smart. No, the main character does not die a fiery death, because the producers aren't that kind.
Bob Dylan goes through the entire movie with an "I hope you all die" expression on his face, which is perfectly suitable considering the lines he's being forced to say.
Rupert Everett is all broody and sensitive and painfully boring in this movie and he made me want to hang myself. The only problem is, you can only hang yourself once.
Any music in this film that doesn't come from the mouth of Bob is painfully bad, so have that remote control handy.
Would I buy it again, you ask? Sure, if only to see Bob screw with his image yet again.

Soooo bad - it's good!
If you're a Dylan fan, you should see this just to watch Dylan humbled. Dylan plays an retired rock legend (Billy Parker), who gets friendly (no, nothing happens) with a young female musician...takes her to England with him to play a gig, where they meet a rock star/Parker fan (Rupert Everet). She falls for Everet, blah, blah, blah. The film is cheesy. If you can imagine a circle, with good on one point and bad at the opposite end, picture this film at the bad end...but it is so far into the bad side of the sphere it ends up on the good side. Yeah! It's really that bad. The female singer - Molly (played by Fiona) starts out with some musical integrity (she at least plays guitar) but by the end looks and sounds like Tiffany (who I vaguely remember...but I could be wrong what with being a small child in the late 80s). The Everet character (Colt) plays the classic cliche of what a male musician is - sensitive, moody, drinks to excess (I can't belive they didn't address his alcoholism), and likes to wear more make up than your average model. Oh, and the Dylan character is slightly pedophilic. Molly says she's 18 (which I don't think Fiona was) and Dylan is quite a bit older - he wants her but tries to stay away...tries to protect her but in the end I think he decides he'd like to hook up with her anyway (despite what he says to her in begining of the film). Oh, and before I forget, check out Molly's drummer...the hulking blonde...esp the scene where they get to America and he kisses the floor and shoves a groupie. I chalk this film up to Dylan messing with his image and screwing with the public...at least this funny...the victoria's secret thing just makes me sad.

Make Sure You Get The Right Video
I thought I was getting Bob Dylan, but Clevon Little's Movie instead; if you're buying used make sure you're getting the right one. I wasn't one of the lucky one's and would like to spare someone else the same (Jack) Fate :O)

Almost pure camp fun for Dylan fans...
...except you will need to use the fast-forward button on your remote when Bobby isn't onscreen. He performs a song called "The Usual" that's still in my head after only seeing it once! I heard it wasn't written by him, but I'm sure he does it justice like noone else can in this film.

Oh, and I love the little serenade in the barn at the end.=)

Another thing is I really like Fiona Flanagan's music, which of course helps when you're watching this..a cool chick.

Peace out,
R&C

Don't Shoot Me-I'm Only a Chicken Farmer!!!!
The Late Victor Mature once said he'd been barred from a certain club on the grounds he was an actor. Vic asked the club if they'd ever seen him act! Sadly, Bob can't (act that is) though he remains the enigmatic (musical) genius he's always been. Only highlight is a non-Dylan song-John Hiatt's "The Usual" which sounds like it was written for Bob!
Apart from that, the thing tanks bigtime! ... Read more

Reviews (39)

And we'll have a real good time!
I've seen countless versions of Gypsy from movie to stage and have never been disappointed in any of them. For the film version Rosalind Russell, one of my all time favorite actresses shines bright as Mamma Rose. Critics tore her apart but they are nothing but want-to-be actors anyway. I know enough about theatre to see that Rosalind had everything it took for this part and next to Angela she is my next choice.For Louise, Natalie Wood also shines and has given this role all the class of a great Broadway performance. She's beautiful and next to West Side Story the role of Gypsy (Louise) is what i'll always remember her for.The movie production itself isn't bad. I would have liked it more if they stayed closer to the stage version but considering Hollywood they did do a wonderful job. The Stereo 5.1 Sound is breathtaking, the colors are sharp and the extras are very much appreciated but don't know why they just didn't edit them into this production.You won't be disappointed, you'll enjoy all the wonderful songs, wonderful production numbers and see really fine actors of yesterday at their very best. "And you'll have a very good time."

3 Stars for the DVD
I really was looking forward to this DVD. I had only seen this film on TV or pan-and-scan video and thought it missing something. I previewed my new version by checking out the opening and a couple of the bigger numbers and thought it seemed pretty good. Now, unfortunately, I have been only been able to get through about an hour of the movie in two sittings. I have always liked Rosalind Russell and Natalie Wood, and Karl Malden. But, I'm sorry, the musical numbers are flat out -- flat! No oomph, no guts -- I guess I'm just too familiar with the original cast recording which I have been listening to since it was first released on LP, and although I saw the less-than-musically talented Tyne Daly onstage in the role, at least the production sparkled and kept moving. I give the three stars for the DVD because it is an extremely good transfer. The wide screen looks great and the sound is not bad at all, but, again, it just doesn't make it. As Auntie Mame, Ros Russell is out of this world, but as Mama Rose, she seems more like Hyacinth in "Keeping Up Appearances" -- just goes rolling right along not even realizing anyone else is around. Maybe that's the way she and/or the director thought she should be. Oh, well!

You gotta get "Gypsy" if you wanna get ahead!
Buy this wonderful DVD issue of the 1962 "Gypsy" NOW! Fantastic color, film quality, sound...it's like seeing it for the first time. Wonderful stars and music. The two numbers "You Gotta Get a Gimmick" and "Let Me Entertain You" alone are worth the price. When Natalie takes those long legs to the runway, circling the stage performing the latter - whew - TOO hot to handle! "That's how burlesque was born!"

Gypsy -- A Disappointing Pleasure
As a longtime fan of the musical "Gypsy", inspired by the memoirs of the infamous stripper Gypsy Rose Lee, I was ecstatic to come across a copy of the 1962 movie version on DVD. Though the acting was superb and charming, the one of the key words in a movie-musical is "musical", which this movie certainly wasn't.

First off: hats off to Rosalind Russell, an excellent Mama Rose. Miss Russell portrays Rose as the ruthless but lovable dominating stage mother that she is. She gives an marvelous performance as Rose. Though there is controversy on whether her vocals were dubbed by another performer (a rumor which Russell vehemently denied until her death), who really cares? Even if it isn't her singing, you can clearly see her put in emotion into whatever song she is belting(or lip-synching).

Karl Malden, as the bumbling Herbie, Rose's boyfriend and manager for her two daughters, Louise and June, gives his all. He is extremely believable in his role, as well as comfortable. Though unfortunately most of his singing scenes were cut for the final movie, they can still be seen in two additional bonus tracks that were cut from the final product. His talents as a vocalist are clearly displayed, along with his happy-go-lucky stage presence.

The last true musical charmer in this movie is that of the character of Tulsa, who gave a charming and whimsical performance in the song and dance splendor of "All I Need Is The Girl". I became a true fan of this number after seeing him flit across the screen.

Though these few people bring a great musical quality to this movie, not much can be said for the others in it. Natalie Wood, who plays Louise, the awkward teenager who ends up becoming the stripper Gypsy Rose Lee, definitely made her evolution believable. Though her acting was fantastic, I can't say the same for her singing abilities. Let's just say that I finally realized why someone dubbed her vocals for "West Side Story". "Gotta Get a Gimmick", possibly one of the best showstoppers I've seen on stage (about three strippers that give Louise tips on how to become a stripper), was pathetic on screen. There was more shouting than singing, and I kept counting the seconds until the end of the number so I could pretend it never happened. June was somewhat talented as a singer, but didn't give much of a performance.

Though most of the acting was splendid, the music was not. I have to give this one a 3 for the movie overall, but a 4 for the acting.

Everything's Coming Up Rose!
I loved this version of "Gypsy." I was a part of a school production of the musical, so I decided to see what the movie version was like. There are several differences, but this movie has the same flare that the stage production does. The DVD has the two songs that are missing from the movie (they are located in the bonus features area) which I enjoyed very much. I only wish that they had been in the movie in the first place!

Rosalind Russell is WONDERFUL as Rose, a mother who wants to make her children, mainly her youngest, June, a star. She travels, along with her other daughter Louise (played by the wonderful Natalie Wood) and Herbie (Carl Malden). All three characters gave great performances. I always get a lump in the back of my throat when Herbie leaves Rose after she refuses to set a date for their marriage and tries to make Louise the star.

After Louise discovers that she is very successful in her new profession--stripping, she changes her name to Gypsy Rose Lee and leaves her mother behind. Rose then goes on to sing the greatest song of the movie, 'Rose's Turn.' Rosalind Russell does a great job with the song, even if her voice is a little scratchy. Her acting was superb. I have always loved the ending (which I will not give away for those who have yet to see the movie). If you're a musical fan, rent this movie. You will not be disappointed! ... Read more

Amazon.com essential video

The preeminent moonshine movie, the 1958 Thunder Road stars Robert Mitchum as a backwoods bootlegger in Tennessee, getting squeezed by both the federal government and organized crime. Mitchum had a big hand in creating this cult favorite (which reportedly played in drive-ins around America for years), writing the script, producing the movie, and even composing and singing the movie's theme song, which became a radio hit. Directed by longtime cinematographer Arthur Ripley, the film is strong on characters and action, the latter fulfilled by a memorable chase scene at the end. Mitchum was at an artistic peak at this point in his career, and this is really an indispensable movie for his fans. --Tom Keogh ... Read more

Reviews (18)

Possibly Robert Mitchum's finest; a must!
This black-and-white movie appeared in countless drive-in theatres in the south during the late 1950's and achieved a cult following as the definite favorite of the good old boy set. In fact, any understanding of southern males who are today between the ages of 45 and 60 is incomplete without considering this movie. Robert Mitchum is a moonshine runner, using souped-up Fords as tankers and fighting both the feds (Gene Barry plays the head fed) and organized crime. The attitude conveyed is that a man should be able to do what he wants on his own land, including make alcohol. Mitchum's movie makes a compelling case for this, one especially receptive to southerners and those who were then between ages 15 and 25.

Thunder Road has thrilling car chase scenes and fine acting performances by Mitchum, Keely Smith, Gene Barry, and Jim Mitchum (Robert's son). A big song was also composed by Mitchum: "The Ballad of Thunder Road." This is one to get and watch over and over again, especially with a six=pack of beer, hot dogs, barbecue, and lots of serious drive-in grade junk (fun) food,

This is for a good old time, so grab it and enjoy!

My All-Time Favorite Movie!
Robert Mitchum is a cool moonshine runner in Thunder Road. It's my all-time favorite movie in a campy way. This is the first movie that had great car chases that I remember, although, of course, the special effects are nowhere up to today's standards. The dialog is corny: (upon viewing the reluctant moonshiner Jeb's funeral procession), (sappily) "They're bringing him back to the valley he never wanted to leave." The acting is corny too - see Keely Smith's open-mouthed expression in the resturant when she turns around to find Robert Mitchum gone. Anyway the story holds together, the characters are interesting, the action is good, and so is the song. Gene Barry is good as the BATF agent. Jim Mitchum (Robert's son who played his younger brother here) was corny. But Robert Mitchum was the coolest!

Moonshine, moonshine, to quench the devil's thirst
IF you're a Robert Mitchum fan, it's almost impossible not to give THUNDER ROAD five stars. Heck, he even wrote and sang the title song.
Mitchum plays Lucas Doolin, a Korean War vet turned Kentucky moonshine runner, a man with "a machine gunner's outlook and death don't faze him much." Times are hard along Thunder Road, the revenuers from Alcohol and Tobacco are stepping up the pressure and a big city operator, Carl Kogan (Jacques Aubuchon), is trying to buy out all the local moonshiners. Luke Doolin is the best runner out there, and when the revenuers & Kogan push, he pushes back.
The revenuers, personified by Troy Barrett (Gene Barry), want to shut down things and especially want help in capturing the big fish Kogan. At one point he even (mistakenly) tries to intimate Luke into cooperating. "I reckon you can do all you say," the sleepy-eyed Luke says after listening to Barrett's threats. "But first you got to catch me. If you can." Kogan's threat is more direct and lethal. He wants to buy out and build his empire. In other words, the moonshiners belong to a loose cooperative and Kogan is threatening a hostile takeover. Barrett tries to win through persuasion; Kogan's goons use guns.
THUNDER ROAD loves cars and driving. When we aren't underneath the souped-up '51 Ford's hood admiring the curves of its engine, we're speeding and chasing and crashing along the rural backroads. The chase scenes were probably pretty exciting for the time, although today they just look quaint and hokey.
Mitchum is, as always, excellent. In an interesting bit of casting, and perhaps as a nod to the dubious paternity in some areas of rural America, Mitchum's son James is cast as his brother Robin Doolin. The less said about his acting the better, but they do look an awful lot alike. Another interesting and somewhat wooden choice is the golden-throated Keely Smith as Mitchum's big city's girlfriend Francie Wymore. As a bonus to her fans, she sings a couple of songs.
THUNDER ROAD is a minor cult classic, most popular in the Appalachia region. I read an interesting bit of trivia from the IMDB site: Elvis Presley was originally offered the part of Robin Doolin, but Tom Parker put the kabosh on it. Now THAT would have been interesting.

Moonrunners Is Better
I Love This Movie So Much but in my opinion the sort of remake ala Thunder Road for the next generation is better entitled Moonrunners its the film The Dukes Of Hazzard was based on and it stars Jim Mitchum Robert Mitchuns son anyway you'll love both movie full of good old crash'em up chases and real good acting so check'em out you won't be dissapointed

Couldn't Get Into It!
(...). This movie plods along at a snail's pace. I haven't been able to watch "Thunder Road" in one sitting EVER, simply because it is so boring. I love Robert Mitchum and the movie looks cool with the 1950s cars and the black & white photography. I really, really wanted to like this film. I even bought the dvd to replace a taped version I had, hoping that a superior picture would do the trick....it didn't. Apart from the car chases, it just drags. No kidding. This movie has a cult following (each to their own) but in my humble opinion, it's a complete yawner. (...) Sorry "Mitch." ... Read more

Reviews (29)

GLORIOUS TECHNICOLOR SCENERY PLUS GORGEOUS GENE TIERNEY
The real star of this fascinating little movie is the breath-taking Technicolor photography of Maine and New Mexico; even the architecture is great to look at (as is the gorgeous Gene Tierney!). Tierney's role of Ellen Berent has received almost cult status over the years since her character is that of an obsessive and cruel, selfish and evil woman; her relationship with Cornel Wilde indeed makes for an unusual and strange love story! Ben Ames William's novel of the same name was released in 1944 and was read by over a million people; the public was obviously captivated by this lurid little tale of a psychopathic wife. While being more than a little melodramatic, the story's believability is quite implausible at times, however the film lingers in the psyche nevertheless (the scene where Ellen lets Wilde's crippled little brother Hickman drown out of sheer jealousy is genuinely disturbing). Classic line: Ellen's mother: "There's nothing wrong with Ellen. She just loves too much!" Rarely has such a wicked woman looked as beautiful as Tierney does in this unusual story of obsessive "love".

Never Let You Go
Gene Tierney stars as Ellen, a woman incapable of anything except obsessive love. She goes to extreme lengths to keep her new husband (Cornel Wilde) all to herself. And I do mean extreme! She leaves her family in ruins. I'm not sure why Leave Her To Heaven works so well. The acting is either dull (Wilde, Jeanne Crain) or over the top (Vincent Price). The script is full of bad lines and unbelievable situations. But somehow it works! Give credit to Gene Tierney, who manages to make one of the most unbelievable and unlikeable characters in movie history so watchable by more than just her incredible beauty. Also give credit to the amazing technicolor photography that really must be seen. The musical score is very dramatic and over the top, which makes it a perfect fit for this movie. You may be shaking your head throughout most of the film, but I guarantee you'll watch it to the end to see what happens.

"Sometimes the truth is wicked."
In the film "Leave Her to Heaven", writer Richard Harland (Cornel Wilde) travels to New Mexico for a holiday. On the train, he meets a woman, Ellen (Gene Tierney) who happens to be reading his book. They strike up a conversation, and once in New Mexico, Richard finds himself in a relationship with Ellen. A whirlwind romance leads to marriage, and soon the newlyweds are heading back to Harland's home on the East Coast.

It doesn't take long before Harland realizes that there's something not quite right with his beautiful bride. She's insanely jealous, but she's also hideously rude to lifelong friends. Ellen, however, is quite practiced at hiding her ugly side. At first, she welcomes Richard's crippled brother, Danny, but within a few weeks, she's eager to rid of him--she tries to get rid of Danny gracefully at first, and when that doesn't work, she takes matters into her own evil hands....

Gene Tierney was very well cast in this role. She has a sort of restless grace that convincingly conveys the sense of a mind that is not quite in control. Tierney's performance as the seriously disturbed beauty is flawless. She shifts from false sweetness to absolute psychotic evil with the blink of her eyelashes. Even the other characters in the scene seem amazed by her performance. Jeanne Crain is cast as Ellen's adopted sister, and the two actresses look incredibly alike. Vincent Price has a relatively small (and tame) role as Ellen's ex-fiance-the man has no idea what a narrow escape he had. This film is classed as film noir, but it has the feel of a soap opera at heart--an excellent one, I'll admit. The video is good quality and contains scenes from the film's premiere in Hollywood--displacedhuman

The most gorgeous motion picture ever photographed
This 1945 Technicolor "film noir" happens is the most visually beautiful picture that has ever been photographed. Lovely Gene Tierney is extremely gorgeous in this classic tale of obsession, jealousy and murder...all in a lush, Technicolor paradise. The scene where Tierney is rowing the boat and letting the little boy drown with the green pines in back of the blue, blue lake will knock your eyes out --- it is so beautiful. I can't think of any movie made today that has color like this.

Fox, we want this masterpiece on DVD NOW, we don't want anymore Simpsons crap!

Me too!
Since others have very eloquently outlined the intriguing plot and described the talents of the beautiful but ultimately tragic Gene Tierney already, I will only add that if you are a "film noir"/old movie fan and you haven't seen this one yet , then you are in for a huge treat. Don't just sit there! Get it now! Haunting actress, great plot and absolutley beautiful scenery up at the lodge.... Happy watching! ... Read more

Amazon.com

The plot is a hokey whitewash of the careers of Richard Rodgers andLorenz Hart, with characters talking in stilted phrases ("Gee, Larry, that's marvelous, really and truly") and complexities reduced to ground zero. But Rodgers and Hart comprised one of the greatest song-writing teams of the 20th century, and Words and Music (1948) is an excuse for a gang of Hollywood's top performers to have their way with the tunes. Mel Torm&eacute; croons a melancholy "Blue Moon," June Allyson twinkles through "Thou Swell," and a climactic ballet to "Slaughter on 10th Avenue" features Gene Kelly and Vera-Ellen in slinky, kicky form. As is often the case in MGM musicals of this period, Lena Horne steals the show with a self-contained sequence (so it could be snipped out in theaters in the U.S. South), here contributing stunning versions of "The Lady Is a Tramp" and that most mysterious of American pop songs, "Where or When."

The film's sense of time is deranged:Perry Como plays an early friend of R&H, then decades later, himself; Garbo's Camille is shown as a silent film, although it was released 10 years after sound came in; and the grown-up Judy Garland plays herself in a period when she would have been a child. The upside is that Garland romps through "Johnny One Note," one of many examples of Lorenz Hart's lyrical dexterity. Tom Drake is a dull Rodgers, but Mickey Rooney's buzz-saw energy and crazed appetite might have made a brilliant Larry Hart. In a better movie, that is. --Robert Horton ... Read more

Reviews (16)

This is Mickey Rooney's movie!
I never realized what a bundle of energy a youthful Mickey Rooney was. He completely steals the show as musical theatre composer Larry Hart (the other half of Rodgers and Hart). Mr. Rooney brings such exuberance to his role that you actually feel sorry for what his character becomes by the end of the film.

Granted, this is a somewhat fictionalized account of the songwriting partnership of Rodgers and Hart, the film contains many a classic tune and musical number performed by many of the greatest MGM stars, including June Allyson, Perry Como, Lena Horne, Gene Kelly, Ann Sothern, Cyd Charisse, Vera-Ellen, and Judy Garland, all making cameo appearences.

Not to be completely outdone by Mr. Rooney, equally impressive are Tom Drake as Richard Rodgers, who was the "solid" one of the partnership, Janet Leigh as Dorothy Rodgers, and Betty Garrett as a girlfriend of Hart.

Anyone who appreciates the pomp and circumstance that MGM put into their musical films will find this film a treat for the senses.

An Unforgetable Evening
I'd just returned from the Berlin Air Lift with my honorable discharge papers and a purple heart proudly pinned on my chest. It was the most wonderful years of my life.

I worked in the mess hall, but I got injured while delivering a cup o' Joe, as we called in them days, to General Lucius Clay. The danged driver let the clutch pop and the Jeep ran over my foot.

I'd seen that General Clay any number of times and was most impressed. Did you know he was the durect descendant of ole Henry Clay, the man who said he'd rather be goldanged right then president. Now there's a man who shoulda been president instead of that danged old Eisenhower. The General, not Henry.

I seen Ike, as we called him, numerous times too, always pouring sugar and creamer in his Joe. Never trusted a man who used both.

Anyway, my foot was getting better and I decided to get out of the house. Ma, God rest her soul, was always telling me go rake this, go pick this and go milk that and she was getting on my nerves, although it warn't her fault. She missed Pa since his tractor rolled in '39. He was drunk acourse, but we all missed him all the same.

I was going to the Strand and figured I'd call my old buddy Bob Eshbach about going. Well, his sister CeeCee was home from college (not many women went then, no need for more educated fools in the world) and we got chatting and I asked her out despite the fact she musta had a real bad cold because her voice all husky.

I picked her up in the Model A I'd bought for $5. She looked elegant in her green and orange komono, covering her kabukied up white-as-snow face with that little pink fan, a' batting her eyes at me.

I was enamoured and said the first word that came to my mind: "Golly." I was going to follow up with "Am I mistaken, CeeCee, but have you grown about seven inches and beefed up since we last met," but a gentleman never asks a gal if she's beefed up. It ain't polite. Pa taught me that with a whipping.

We rode along quiet for a while, both bursting with anticipation for the evening when I said "We're going to the Strand. That okay? Have youu seen the movie? Shucks, I don't even know what's playing."

"Tom, it's 'Words and Music.' Do you know anything abour it?" she replied.

"It's about them musical brothers, the Strausses or something, ain't it?"

"Rogers and Hart. Lorenz Hart was gay, you know. Does that bother you?"

That peeved me some, asking a question like I was rube or something. "Gay! Bother me? Hecks bells, no. Any feller who wrote about the corn being as high as an elephant's eye or an all decked out surrey ought to be gay. Them's wonderful, happy songs, especially to farm people like me. CeeCee, sometimes I'm gay. Not around, Ma of course. She wouldn't approve. In Berlin I was gay any number of times."

Why I could see her blush through her pancake make up as she fluttered her fan, cocked her head and cooed in a gravelly sort of way, "Oh really."

Well we got there on time and settled in with pop corn and pops. I didn't think Mickey Rooney was gay at all in his portrayal of Hart...just Academy Award level acting. While watching all the wonderful technicolor singing and dancing about small hotels and mountain greenery, I drank a big RC Cola so about half way through when Lena Horne started to pipe up, I excused myself for the little boys room.

When I returned, CeeCee had our box of pop corn on her lap and right away tilted it toward me and asked "Want some, hun." Well I reached in there and there warn't a lot of popcorn left, but a surprise at the bottom like the Cracker Jacks has.

It was a real eye opener.

We dated the rest of the summer, until she was drafted and sent to Korea and mysteriously disappeared from the ship taking her there.

Whenever I see "Words and Music" (And it's daily since I bought it at Amazon) I think of my poor CeeCee.

It is a wonderful movie, just right for them that's four to them that's 104, and I ain't referring to no sick bed temperature. Buy it today. You'll love it.

COOL movie!
Judy, Mickey, Vera-Ellen, Gene, and an ever-so-cute June Alyson in "thou swell"! She, along with all her cast members give a spectacular performance!

Good Film... ONLY THE ACTOR'S DESERVED BETTER THAN THIS!
First-Rate Celebs Deserve More Than This! I Feel Bad For Those People In This Film. BUT FOR SOME REASON, I LOVE THIS FILM! This Is Fun, Romantic, Song-Filled, And Dramatic! So If You Love A Good Time And A Good Cry, You'll Love This Film! WARNING: YOU WILL NEED KLEENEX! LOTS OF IT IF YOU GET SAD EASILY!

Master of melodrama.
Don't watch WORDS AND MUSIC for biographical accuracy; watch it for the musical numbers (they'd be called music videos today). Its book is no more proper than the one concocted for Jerome Kern in TILL THE CLOUDS ROLL BY. But there are isolated gems: Judy Garland playing grown-up with Mickey Rooney for the first time in their last screen appearance with the sarcastic duet "I Wish I Were In Love Again," as well as the "Slaughter On Tenth Avenue" dance and the massive ballet of "On Your Toes"/"This Can't Be Love." Some productions border on corny, like Perry Como's "Mountain Greenery" or the perenially perky June Allyson singing "Thou Swell," but the wit and charm behind the songs is timeless. This is one of those film enigmas of which you just accept the premise (it never could decide what period of time it's supposed to be set in) and let it wash over you. It still has the charm of Ann Southern and the smolder of Lena Horne and Cyd Charisse- even if its finale is completely melodramatic and hand-wringing!! ... Read more

Amazon.com

With Michael Curtiz (Casablanca) as director, Cary Grant in thelead, and wall-to-wall songs by Cole Porter, how could Night and Daylose? Why, by taking broad liberties with the composer's life story and failing to live up to expectations. If you can overlook such shortcomings, however, it's lively entertainment that doesn't completely deserve the scorn it has elicited. Grant is good as a bon vivant who had a way with words but lacked the discipline to pursue a career in law. As a singer, on the other hand, he's merely adequate. Curtiz wisely has the fine supporting actresses (Jane Wyman, Ginny Simms, etc.) handle the big numbers suchas "You're the Top." Also, Porter's story was meant for black and white. TheTechnicolor process adds an unfortunate garishness to the tale of a man whosevery name has become a synonym for elegance. With Mary Martin and Monty Woolleyas themselves. --Kathleen C. Fennessy ... Read more

Reviews (10)

MARY MARTIN SAVES THE DAY!
Story of the adult life of Cole Porter, through his accident on a horse and recouperation.

Regarding him and his spouse, what were these two people really like, and their marriage? We'll never know from this movie, which portrays them in a one-dimensional, saccharin mode.

Grant tries to rise above the script and almost does. Alexis Smith simply sinks.

The film's saving grace is the fabulous music. The production numbers are more than gratifying, Ginny Simms and Jane Wyman being the main performers.

But remember Mary Martin, the gem of our American theatre? She steals the whole film with only scene wherein she belts out "My Heart Belongs to Daddy" to remind us how thrilling and awesome her talent really was. Worth the film just to see this!

A Classic!
Our family is a big fan of musicals and old movie classics and "Night and Day" fits into both categories perfectly! We rented this movie a few days ago and fell in love with it immediately. The story of Cole Porter, portrayed by Cary Grant, is such a neat one, showing the sacrifices he made, and the difficulties of becoming a composer. I give this a 5 star rating. I think that young and old alike will fall for this movie right away.

Night and Day on DVD
Others have addressed the travesty this movie makes of Cole Porter's life, so I will not rehash. Historically, both Linda and Cole were supposed to have been quite pleased with the flic, which, given the times, probably was the only public reaction they could have had (I'd hope they laughed histerically in private).

On the plus side, we have Alexis Smith as beautiful and elegant as she always was, but younger (presumably Linda Lee Porter suggested her for the role); Jane Wyman vital and sparkling, as far removed from Douglas Sirk as one can imagine; Mary Martin innocently raunchy; Eve Arden putting on a French accent, straight-faced; and about the most gosh-awful-kitschiest rendition of Begin the Beguine I have ever seen, on or off film. Not campy but garish, it becomes fascinatingly repellent .... definitely worth seeing. It is the movie's "Big Number" .... seriously tasteless and ill-conceived, following relatively close on the heels -so to speak- of an acknowledged masterpiece: Begin the Beguine, the "Big Number" in "Broadway Melody of 1940," danced by Eleanor Powell and Fred Astaire.(Available in a pristine transfer to DVD).

What is absolutely shameful is the minimal care evidenced in the movie's transfer to DVD. Scratches and dirt are easily discernible...... worst: whole sections go by in thoroughly faded technicolor, yet there are isolated spots when one is reminded how glorious the process could be. It doesn't appear WB went to a negative but rather picked from various prints in varying degrees of deterioration. I can think of many movies deserving full-fledged restoration before Night and Day,
but, c'mon...... surely Warner can do better than this.

WB partially redeems itself by including a musical short featuring a singing Desi Arnaz and His Band, and a truly charmless, through-composed oddity called "Musical Movieland." Nonetheless, on the balance, if it came to a choice, I would have opted for a better transfer.

Music and Performances Are The High Points
One of Broadway's most brilliant songwriters, Cole Porter (1891-1964) worked hard to present an unflappable image to the world--but in truth he was a tremendously complex man, a homosexual who lived with wife Linda Lee Thomas in a marriage of convenience, subject fits of depression, and suffering horrific pain in the wake of a horseback riding accident which left him crippled at the peak of his career. Add to this the fact that his lyrics were often censored for film, radio, and records and it seems very odd that 1940s Hollywood would attempt a biography.

What they did, of course, was fictionalize it to the max, reducing the story of his life to a mix of backstage musical and domestic drama--and transforming the tiny and waspish Porter and his icy bride Linda into handsome Cary Grant and lovely Alexis Smith. The result is pure nonsense, of course, but when you tack in a host of Porter classics--fantasy it might be, but it is entertaining enough to watch.

Grant is no singer, but he has considerable charm, and Smith is as always extremely attractive. The supporting cast is remarkably strong, featuring the likes of Jane Wyman, Eve Arden, Dorothy Malone, and Alan Hale--and rare screen appearances by Monty Woolley and Mary Martin, who deliver knockout performances of "Miss Otis Regrets" and "My Heart Belongs To Daddy" respectively. The DVD transfer is reasonable, and although the bonuses are pure fluff they are amusing. While it may be short on fact with a story little more than pure melodrama, the music and performers make NIGHT AND DAY a reasonably pleasant way to spend a rainy afternoon.

GFT, Amazon Reviewer

Cary is not Cole
Cole Porter was a skinny, homely little guy from Peru, Indiana, who reinvented himself as an international sophisticate. And he was gay. Of course a movie of this era cannot be expected to deal with a subject that was then taboo. But casting the dashing Cary Grant as Cole Porter turns this movie into pure fantasy, if enjoyable fantasy. In the MGM musical about Rodgers and Hart, "Words and Music," casting the role of Lorenz "Larry" Hart posed a similar problem. Hart was 4' 9", alcoholic, and more or less openly gay. They at least made a stab at getting it right by casting the diminutive Mickey Rooney, and including many of Hart's mannerisms, such as his hyperactivity, penchant for smoking large cigars, and his habit of nervously rubbing his hands together. And there's a scene when Tom Drake as Rodgers gives Rooney a funny look when he he puts an arm on his shoulder while he is playing the piano. Very subtle but unmistakeable. Mickey Rooney as Hart is an honorable failure. The best that one can say about Cary Grant as Cole Porter is that Porter would certainly have liked to look like Grant. (And then there is "Rhapsody in Blue," starring Robert Alda, who is a reasonable facsimile of the probably gay Gershwin, which invents two completely fictional female romantic interests for Gershwin, who never had any.) One piece of authenticity in the film is Monty Woolley, who was a classmate and friend of Porter at Yale. Monty was a scion of Manhattan high society, and Cole a social climber par excellence--and they both loved the theater. The music makes it all more than worthwhile--the high point for me being the great Mary Martin doing the song that made her a star, "My Heart Belongs to Daddy." ... Read more